Byther Smith: Smitty's Blues (Black & Tan)
Big George Jackson: Big Shot (Black & Tan)

  The Netherlands based Black & Tan label has only been in existence for a short time but they've already established themselves as of one the best places to find straight ahead no nonsense blues. Not only will you not find any blues-rock but Black & Tan is committed to recording deserving lesser known artists. That philosophy is evident in two brand new records by the relatively well known Byther Smith and the less known Big George Jackson.

  Byther Smith's hard hitting blues has been well represented in the last decade with solid releases on labels like JSP, Bullseye and Delmark. Big George Jackson's doesn't have the same recognition as Smith but his star is definitely on the rise. Big Shot is a an excellent follow up to his 1998 Black & Tan debut and should help to spread the word on this talented bluesman.

 Simply put Smitty's Blues is a killer. Byther Smith plays tough, uncompromising Chicago blues sparked his blistering guitar chops and strong vocals. This is an intense outing stoked by a tough band as they follow their leader through a fine mix of originals and well chosen covers. Smith's music bring to mind the fiery blues of Otis Rush, one of the many blues legends he's worked with. It's not surprising then that Smith sounds right at home on a two Rush covers including a brilliant tour-de-force on "So Many Roads, So Many Trains" and the chugging "She's A Good 'Un." Other highlights include a romping cover of AC Reed's "Little Voice", an emotion drenched cover of "Five Long Years", the driving "Your Daughter Don't Want Me No More" featuring some mean slide and a funky version of Lowell Fulson's "Tramp."

 Big George Jackson and band tread on equally tough ground evoking the classic Chicago blues sound of the 50's and 60's. Jackson is a great big voiced singer sounding like a cross between Howlin' Wolf and John Lee Hooker and he's also one tough harp player. The liner notes mention that the band has been playing together for several years and they're tight as can be laying down an irresistible groove from start to finish. Eight of the eleven cuts are originals with particular favorites going to the shuffling "St Paul Woman", the tough boogie on "What You Got", the low-down "Hard Hearted Woman" and the John Lee Hooker feel of "Friday Evening." There's not a bad track in the bunch and it's good to see someone writing original blues of this caliber.

 If you enjoy tough, hard nosed blues both these records will surly hit the spot. Black & Tan has a great track despite a short existence and is definitely a blues label on the rise. Find out more at Black & Tan's website.

(Jeff Harris)

John Brim: Jake's Blues (Anna Bea)
John Brim: Authorized Blues (Anna Bea)

 It's heartening to see that at 78 years old John Brim is still capable of laying down some serious Chicago blues. Jake's Blues is his first since 1994's W.C. Handy nominated Ice Cream Man on the Tone-Cool label. In addition to the new material Anna Bea has has also issued a collection of Brim's classic 50's sides under the title Authorized Blues. Hopefully this double-barreled approach will get Brim some much overdo recognition.

 John Brim may be best-known for writing and cutting the original "Ice Cream Man" that Van Halen covered on their first album. That's a shame though because Brim cut a number of unrelentingly tough sides for labels like JOB, Parrot and Chess. Despite cutting some exceptional Chicago blues records with such talent as Sunnyland Slim, Robert Lockwood, Willie Dixon and others his failed to break out big. Brim kept playing in the 60's and 70's, cut a few sides in the 70's before taking an almost two decade break. Backed by his road band, The Tough Time Boys and guitarist Billy Flynn, Brim remains in fine form on this new release.

 Jake's Blues finds Brim still firmly rooted in the classic Chicago Blues sound of the 50's on a set of almost all original material. Brim plays guitar and sings on all tracks and while his voice has weathered with age he's still a fine singer. Backed by a tight band featuring two guitarists and a harmonica player this a no nonsense set of Chicago Blues played the same way as when he first started out. "Tougher Times", an update of his classic "Tough Times", kicks off with a tough Chicago groove while "Walkin' With Grace" is nice instrumental shuffle. Grace is the name of Brim's wife and playing partner who passed away in 1999. It's obvious she's very much on his mind especially on the moving "Dedicated To Grace" parts 1 & 2. Other highlights include the low-down "What May Your Name Be" featuring some down and dirty slide ala Muddy Waters, the insinuating "You Put The Hurt On Me" a remake of a 1971 record and a pair of romping instrumentals in "Boogie Home" and "Movin' Out."

 Authorized Blues collects some of Brim's early gems circa 1951-52 that he cut for the JOB and Random labels. Also included are two fine sides issued on Brim's own label in 1971. It's good to have all these sides in one place and the music is classic Chicago blues of the highest order. Backed by pianists like Roosevelt Sykes and Sunnyland Slim plus guitarists such as Eddie Taylor and Pete Franklin these waxings should be a revelation to fans of Chicago blues who have never heard them. The mood is generally tough and brooding on such gems as "Dark Clouds", "Going Down The Line" sung by Grace Brim, "Young And Wild", the soulful "Humming Blues" and the rocking, uptempo "Moving Out" and "You Put The Hurt On Me" from 1971. The only complaint is the playing time which is a scant 37 minutes. They certainly could have doubled the amount songs which could have made this the definitive John Brim collection. Perhaps it was a licensing issue? On the plus side 50% of all profits go directly to Brim who like so many others has been cheated out of royalties for years.

 The simultaneous release of these two CD's should go a long way in resurrecting John Brim's stature as a prime architect of the classic Chicago blues sound.

(Jeff Harris)

Chick Willis: From The Heart & Soul (Rock House)

 Chick Willis will be forever linked to the risqué "Stoop Down Baby" an updated version of the timeless dirty dozens theme. From The Hear & Soul is his first record in a few years and his lowdown, steamy blues has never sounded better.

 In the late 80's and early 90's Willis was putting out solid records regularly on the Ichiban label until they went out of business. Willis' trademark has always been his raunchy songs played in that lowdown chitlin' style that still prevails down south. From The Heart & Soul is firmly in that style and ranks as one of his finest outings.

 Lyrically things are a bit tamer but Willis' songwriting abilities are still sharp and he wrote eight of the record's ten cuts. The music is lowdown and greasy as Willis' souful vocals and biting guitar are pushed along by a great band. Produced by bluesman Roy Roberts the sound captures Willis perfectly backed by funky horn arrangement's and featuring Skeeter Brandon who adds some fine organ work. The stomping opener "Ribshack Blues" sets the right tone as Willis tells us about a joint called the Ribshack were he plays those "lowdown dirty blues" and where they "put the strut in your in your step and a glide in your stride"- sounds like my kind of place! Willis rolls along on some great songs like the heartfelt "Someday Baby" with some killer horns, a take off of Marvin Sease's raunchy "I Know A Hootchie Mama", a pair of tales of women you should definitely avoid on the tough "Black Widow Spider" and "Betty Boo" and the chugging "Mr. D.J." where he pleads to please let his record play.

 Chick Willis' brand of soulful blues has always sounded good but with From The Heart & Soul he's really hit his peak on this exceptionally hard hitting and well produced record.

(Jeff Harris)

Muddy Waters: At Newport 1960 (MCA)
Bobby Bland: Two Steps From The Blues (MCA)

 Once again MCA has dipped into the Chess vaults to give the royal treatment to two landmark records, Bobby Bland's Two Steps From The Blues and Muddy Waters' At Newport 1960. Both sets have been bulked up with extra tracks and with the digital remastering have never sounded better.

 Both these records were turning points for Muddy Waters and Bobby Bland. In Bland's case Two Steps From The Blues is an apt title as this record marks a transition point from the hard blues sound of his early days to the more polished soul sound that would garner him a much wider audience. In 1960 Muddy was all- ready a star on the Chicago blues scene but At Newport 1960 is a breakthrough record garnering him his first acclaim outside Chicago.

 Forty years after this landmark concert the music Muddy and his band played on that July date in 1960 still sounds mighty impressive. Backing Muddy was a killer band which included Pat Hare on guitar, James Cotton on harmonica, Francis Clay on drums, Andrew Stephenson on bass and Otis Spann on piano. Muddy and the boys are in exuberant form as they blast through a set of new tunes on "I Got My Brand On You" and "Tiger In Your Tank" (both recorded for Chess a month earlier) and hits like the swaggering "Hootchie Coochie Man" and "I've Got My Mojo Working." So how did Muddy come off? Although it's hard to tell from this recording there is video footage which shows that the crowd was going absolutely wild. You can hear it at the end of "I've Got My Mojo Working" where Muddy concedes to an encore of the song to satisfy the wild crowd. The concert ends on a poignant note with Otis Spann out front on "Goodbye Newport Blues" and impromptu blues lamenting the closing of the festival due to rioting the previous night. As a bonus are four fine studio cuts tacked on that were recorded in Chicago the previous month.

 Two Steps From The Blues was released in 1961 and was a collection of recent singles (seven of them hits) with the oldest reaching back to 1957. Bland had indeed taken two steps back form the blues incorporating more ballads and gospel fired numbers. Bland's bluesy phrasing is still intact and is augmented by some brilliant brassy arrangements by trumpeter Joe Scott. The entire record is one highlight reel from the minor key "Cry, Cry, Cry", the blistering "I Pity The Fool", the pulsing gospel feel on "Don't Cry No More" and the stunning "Little Boy Blue" that builds to incredible intensity and is sure to give you goose bumps. The set is rounded out with two fine bonus tracks. Special mention goes to guitarists Wayne Bennett and Clarence Holloman who play with searing intensity.

 If you don't already own these records now's the chance to pick up these classics- they've simply never sounded better. Essential listening.

(Jeff Harris)

 Gray rolled into the windy city in the mid-40's and came under the influence of pianist Big Maceo. It wasn't long before his powerful two handed playing attracted attention and he found steady gigs with Jimmy Reed, Little Walter, Bo Diddley, Jimmy Rogers and Billy Boy Arnold among others. In 1956 he joined Howlin' Wolf's band settling in for over a decade. In the past dozen years he returned from an extended layoff and cut records for Blind Pig, Wolf and last year for Lucky Cat. Plays Chicago Blues is an old school piano romp supported by a stellar backing band that may be his best yet

 Gray's rumbling vocals and driving, forceful playing is front and center on this collection of excellent originals and well chosen covers. Producer and harmonica player Bob Corritore has done a marvelous job surrounding Gray with great ensemble players including Bob Margolin and Kid Ramos on guitars and Howlin' Wolf alumnus Chico Chism on drums. Gray lays down a rock solid groove as everyone falls in behind and plays brilliantly. Gray also happens to be a fine songwriter as evidenced on orginal compositions like rocking "How Could You Do It", the doomy "Showers Of Rain", the rollicking instrumental "Henry's Houserocker" and the bouncy "That Ain't Right" a remake of a song he cut for Chess in 1953 that remained unissued for years. Gray tackles some first rate covers including great readings of Wolf's "How Many More Years", the late night vibe on the Elmore James classic "I Held My Baby Last Night" and the boisterous juke joint anthem "They Raided The Joint."

 Other than Pinetop Perkins, Gray remains one of the last of the great piano men and as this record affirms he hasn't lost a step. Piano blues this good is rare thing these days so make sure to check this one out.

(Jeff Harris)